3 Visual GrammarFor the first time, pictures succeeded one another, creating patterns of occurrence and repetition that resembled the linear flow of speech.The innovation that cinema provided is to be seen in this visual grammar (Kress & van Leeuwen), allied to the verbal grammar.

4 Verbal and Visual GrammarBoth these channels have their lexicogrammar:the verbal channel has its words and syntax;the figurative channel has its lexical units in the images of characters and objects and its grammar in the organisation of the images;

5 Features of transmitted language (i. eFeatures of transmitted language (i.e. produced by technical sound reproduction): 1. No shared context of senders and receivers2. Unidirectionality of the communicative act (absence of feedback)3. Multiplicity of senders (collective message production)4. Heterogeneity of receivers (mass destination of message)5. Distance between the time of text preparation, the time of its execution and that of its reception6. Simulation of spontaneous speech7. Presence of technical apparatus forthe preparation and transmission of the message.

6 APSThe flow of images is created by film directors, cameramen, set designers, etc. in the construction of an artificial situation.Similarly the language (and grammar) of film is a scripted construct created by writers, altered by directors and actors, in the creation of an “artificially produced situation” (APS)

7 Silent FilmsThe early silent films were not actually wordless; ‘intertitles’ were used, firstly on placards and later inserted into the film itself.Often they were, by today’s standards, farcically artificial.

8 Intertitles: ‘Uncle Tom’s Cabin’ 1927Phineas outwits the slave tradersEliza escapes across the river on floating iceRocky Pass. Reunion of Eliza and Geo. HarrisMoonlight bathing the old Kentucky home in radiance –romance in the winged and perfumed breezes of the night

12 The Big Trail 1930 A silent film slowly being adapted to sound.Along the way the actors were allowed to leave the stilted, theatre-like acting;Marguerite Churchill very much looks like a typical early silent movie heroine at the beginning of the film, but at the end is allowed finer expressions.BUT …

13 John Wayne"No great trail was ever blazed without hardship...and you gotta fight! That's life..and when you stop fightin', that's death."

14 Who writes a film?A film is a team effort, with a consequent downplaying of its paternity. The ‘authors’ of a film (and its translated version) consist of: screenplay writers, directors, cameramen, editors, actors, translator/adaptors, dubbing directors, dubbing actors, subtitlers, producers...… and of course, in this case, Shakespeare.

15 An open textIt is an open text: written to be acted and synchronised with the visual.A film lacks a single text of reference (unlike theatre and radio discourse), in that various transpositions succeed one another (subject, script, dialogue list, transcription)

16 Written text componentsThere is a co-existence of written language features (no hesitation, repetition, self-correction, unarticulated sounds, overlapping speech, etc.) and spoken discourse (eg. recourse to para and extralinguistic elements).

27 Lip sychronisationCombining audio and video recording in such a way that the sound is perfectly synchronized with the action that produced it; especially synchronizing the movements of a speaker's lips with the sound of his speech.

28 Lip synchronisation 2Lip synching can be a very difficult issue in translating foreign works to a domestic release, as a simple translation of the lines often leaves overrun or underrun of dialog to mouth movements.

30 Lip sychronisation 4An example of a lip synchronization problem is the case in which television video and audio signals have significantly different delay times, respectively. In such cases it is necessary to delay the audio electronically to allow for the difference in propagation times.

31 Problems associated with translation for dubbinggeographical place namesmeasurementsnames of institutionsfood and drinkgames and entertainmentproverbial languagelanguage varietiesplays on wordspeech defectssubstandard speechoverlapping speech

33 Particular problems in dubbing GreenawayA battle against traditional narrative;There are no reciting actors, apart from Gielgud, therefore no real dialogue;An allegory taken to the limits;The pictures and figures are evoked by the words, and are continuously formed, changed and re-formed;A multimodal text par excellence

35 Prospero’s Books Greenaway(1) cut more than two thirds of the original text of The Tempest.;(2) gave Prospero 24 books instead of ONE;(3) changed some sequences;(4) divided Thirty Six plays in Thirty Five Plays and The Tempest;(5) instead of shots PB is filmed in paintings

36 Shakepeare revisitedA film can go further than the stage and show, for example, scenes in flashback or in dream sequences, etc. – scenes in Tunis.Much use of repetition, even at a distance.Special (digital) effects can be used, eg. – strange synthesised music, Ariel trapped in the tree, etc.It can concentrate on individuals, highlighting dialogue sequences.

40 SyllablesQuality film dubbing requires translating the speech so that the number of syllables in characters' remarks is the same in both languages so that lip synching is possible (if the character's face is visible on screen).

45 Lip synchProspero’s speech to Miranda does not require lip synch as he is not focussed on but when he begins..Canst thou remember a time before we came unto this cell? I do not think thou canst, for then thou wast not out three years old.Riesci a ricordare un tempo anteriore al nostro arrivo in questa grotta? Io non credo che tu possa. A quel tempo ancora non avevi compiuto i tre anni.Puoi tu ricordarti d’un tempo innanzi a quello in cui venimmo a questa grotta? Non credo che tu possa, perché allora non avevi ancor raggiunto i tre anni.

60 Books Voiceover for description of books;Written elements left in English but translated – the style is rather theatrical but not archaic;When a book is opened, plans and diagrams spring up fully formed. There are definitive models of buildings…Quando si aprono la pagine di qualche libro, balzano fuori a tutto tondo modellini di vari edifici….(length not problematical as not in close-up and tempo is slow)

62 A Book of Water The Book of WaterThis is a waterproof covered book which has lost its colour by much contact with water. It is full of investigative drawings and exploratory text … to give to Prospero as a weding present.Il libro dell’acqua.E’ un libro coperto di incerato discolorato dalla lunga consuetudine con l’acqua. E’ pieno di disegni di indagini e di testi esplorativi…… onde donato a Prospero come dono di nozze.

63 Books This is a large bookQuesto è un grosso tomo … (The Book of Colours);This is a thick brown leather-covered bookQuesto è un grosso tomo in cuoio marrone … (A Harsh Bookof Geometry)A thick book bound …Grosso tomo ricoperto … (Book of the Earth)This is a large book. Its bound in a shining yellow clothQuesto è un grosso volume rilegato in una vivace stoffagialla (A Book of Mythologies)